He did not owe this elegant expression of sentiment to his genius alone, but was indebted for it, as well to the perusal of the first classic authors, as the conversation of literary men, and his intercourse with scholars. He deferred much to the Cav. Marini, and might do so with advantage where poetry was not concerned. In the art of modelling, in which he excelled, he accomplished himself under Fiammingo; he consulted the writings of P. Zaccolini for perspective; he studied the naked figure in the academy of Domenichino and in that of Sacchi; he made himself acquainted with anatomy; he exercised himself in copying the most beautiful landscapes from nature, in which he acquired an exquisite taste, which he communicated to his relative Gaspar Dughet, of whom we shall speak in a short time. I think it may be asserted without exaggeration, that the Caracci improved the art of landscape painting, and that Poussin brought it to perfection.[81] His genius was less calculated for large than small figures, and he has generally painted them a palm and a half, as in the celebrated sacraments, which were in the Casa Boccapaduli: sometimes of two or three palms size, as in the picture of the Plague in the Colonna gallery, and elsewhere. Other pictures of his are seen in Rome, as the Death of Germanicus in the Barberini palace, the Triumph of Flora in the Campidoglio, the Martyrdom of S. Erasmus, in the Pope's collection at Monte Cavallo, afterwards copied in mosaic in S. Peter's. Although he had established himself in Rome, he afterwards left that city for Paris, where he was appointed first painter to the court; after two years time, however, he again returned to Rome, but had his appointment confirmed, and, though absent, enjoyed the same place and stipend. He remained in Rome for twenty three years, and there closed his days. It is not long since his bust in marble, with an appropriate eulogy, was placed in the church of the Rotonda, at the suggestion and generous expense of the Sig. Cav. d'Agincourt. In the class of portrait painters, we find at the beginning of the seventeenth century, Antiveduto Grammatica, and Ottavio Lioni of Padua, who engraved the portraits of the painters; and, on his death, Baldassare Galanino was preeminent. It must however be remarked, that these artists were also designers; and that even those who were held the first masters in composition were employed in portrait painting, as Guido for example, who executed for the Cardinal Spada one of the finest portraits in Rome.